Index I-9Hudson, Richard, 94Huizhu Sun, 212Humble Boy (Jones), 97Hume, David, 23The Hunchback of Notre Dame (musical),250–251, 251Hungarian Theatre (Cluj, Romania), 144, 225,300Hunt, Peter, 174Hunter, Kathryn, 34, 305Huntington Theatre Company, 220Huppert, Isabelle, 118Hutchings, Geoffrey, 29Hwang, David HenryCain and Abel, 262Chinglish, 76, 262, 263, 266early life and career of, 76Flower Drum Song, 76, 252FOB (for Fresh Off the Boat), 76Golden Child, 76, 260, 262Kung Fu, 76, 262M. Butterfly, 76, 260Yellow Face, 76, 77, 262Hytner, Nicholas, 252I Am My Own Wife (Wright), 47, 52, 267, 281Iacucci, Lisa, photo essay of Broadway stagemanager, 139–140Ibsen, HenrikA Doll’s House, 163, 217, 217An Enemy of the People, 217Ghosts, 217Hedda Gabler, 213Peer Gynt, 217–218as pioneer of realism, 217–218symbolist influence on, 221When We Dead Awaken, 221, 222The Wild Duck, 32–33, 218The Iceman Cometh (O’Neill), 216Idiot Savant (Foreman production), 223, 223If/Then (Yorkey), 63Iglarish, Hugh, 104The Ilks (Brook), 306The Illusion (Corneille), 75“I’m a Yankee Doodle Dandy” (Cohan), 243“immersive theatre,” 284, 286Imperceptible Mutabilities in the Third Kingdom(Parks), 77, 81impersonation of charactersas element of the art of theatre, 12–13masks used to convey, 13–14“Imponderabilia” (Abramović), 271In the Blood (Parks), 76–77In the Company of Men (film), 78In the Heights, 252In the Next Room (or the vibrator play) (Ruhl),83, 84–85, 84In Treatment (TV show), 74Indian dramakathakali (story play), 206, 207Natyasastra doctrines of, 206Sanskrit theatre, 206Indiana Repertory Theatre, 106Inge, William, as gay playwright, 265The Insulted and Injured (Neumann), 109Intelligent Homosexual’s Guide to Capitalismand Socialism with a Key to the Scriptures(Kushner), 76intensity of play, 71–72internal acting method, 38–39International Center of Theatre Research, 306international theatreAfrican American theatre, 258–259Americans traveling to experience Londontheatre, 295–296Asian theatre, 260, 262, 266Australian theatre, 296, 298Canadian’s bilingual theatre, 262–263, 296current Latin American theatre, 294Eastern European government censorship,147, 156Eastern European theatre, 299–300French theatre, 262–263, 298, 298German theatre, 298global events and, 260, 262increasing availability to a global audience,294–295Irish theatre and a global audience, 296, 297Japanese drama, 209–213Latin American theatre, 260, 262, 263,264, 264macaronic (mingling mix of languages) aspart of, 262–263, 265Native American theatre, 262, 265Romanian theatre, 156, 299–300sexual-preference issues, 265–266South African theatre, 298, 300Stratford Shakespeare Festival (Canada),296, 299xiqu (Chinese opera), 30, 30, 207–209Into the Woods (Sondheim), 40, 249intrigue of play, 64–66The Intruder (Maeterlinck), 221The Invention of Love (Stoppard), 94, 259Ion (ancient Greek rhapsodist), 39Ionesco, EugèneThe Bald Soprano, 27Rhinoceros, 156theatre of the absurd works by, 232Iphigenia at Aulis (Mitchell production), 307Irish theatre, 296, 297Irving, Amy, 281The Island (Fugard), 298, 300Italian Renaissance theatre, commedia dell’arteof, 199, 201–202It’s Only a Play (McNally), 26Ivanov (Chekhov), 39, 95, 307Ives, David, Venus in Fur, 38Iveson, Mike, 272Jackson, Angus, 51Jackson, Samuel L., 261Jacobs-Jenkins, Branden, 126Jacobs-Jensen, Branden, An Octoroon, 265Jacobs, Sally, 93Jacoby, Ben, 293James, Brian d’Arcy, 125James I, King of England, 241Jankens, Palmer, 179, 182Japanese dramabunraku (puppet-theatre), 133, 211, 213kabuki, 32, 211–213Nō, 116, 125, 209–211Japanese theatre posters, 32Jarry, Alfredantirealistic approach by, 224–225Ubu Roi (King Ubu), 221, 224–226, 225, 292,306, 307Jellison, Erin, 198Jelly’s Last Jam (Wolfe), 249Jensen, Howard, War of the Roses, 136Jerome Robbins’ Broadway (Robbins), 247Jerry Springer, The Opera (Thomas), 252, 253Jersey Boys (musical), 242Jesus Christ Superstar (Webber), 251, 299The Jet of Blood (Artaud), 230–231Jewish bar mitzvah ritual, 189jingju (Beijing opera), 208Job Experiment (Maniutiu), 161Joe Turner’s Come and Gone (Wilson), 70–71Johannson, Scarlett, 18John, EltonBilly Elliott, 253The Lion King music by, 250John Golden Theatre (New York), 153Johnson, James P., Runnin’ Wild, 243Johnson, Lyndon B., 63La Jolla Playhouse (San Diego), 262Jones, Basil, 134Jones, Bill T., 252Jones, Charlotteas English dramatist, 295Humble Boy, 97Jones, Inigo, 91Jones, James Earl, 47Jones, LeRoi, 258Jones, Robert, 99Jones, Sarah, 269Jonson, Ben, 202, 241Jordan, Shari, 149Jósef, Bartha, 147Joseph and the Technicolor Dreamcoat( Webber), 251Jouvet, Louis, 119Judd, Ashley, 18Jue, Francis, 77Julius Caesar (Shakespeare), 116, 120, 154K-2 (Meyer), 96Ka Mountain (Wilson), 22, 301kabuki (Japanese theatre), 211–213advertisement for, 32Kagami Jishi (The Lion Dance), 210Kaidan Chibusa no Enoki (or The Ghost Taleof the Wet Nurse Tree), 279Kabuki-za theatre posters, 32Kaczorowski, Peter, 14Kaddish for an Unborn Child (Kertész), 163Kafka, Franz, 304Kagami Jishi (The Lion Dance) [kabukidance-drama], 210Kahn, Michael, Henry IV, Part II directed by,203Kaidan Chibusa no Enoki (or The Ghost Tale ofthe Wet Nurse Tree) [kabuki masterpiece],279Kalidasa, Sakuntala and the Ring ofRecollection, 206Kander, John, 149Kane, SarahBlasted, 256, 273–274, 2754:48 Psychosis, 73Kani, John, 300Kanin, Garson, Born Yesterday, 38, 124Kankuro, Nakamura, 279Kantor, Tadeusz, 306Kaos (Clarke), 281kathakali (story play) [India], 206, 207Kaufman, George S., You Can’t Take It WithYou, 4, 115Kaufman, Moisés, 25, 118Kavsdze, Irina, 280Kazan, Elia, 19, 45, 174
I-10 IndexKazan, Zoe, 105Keach, Stacy, 203Kean, Charles, 146Kean (Sartre), 313Keitel, Harvey, 45Keller, Helen, 35, 53Kelly, Robert, 77Kern, JeromeShow Boat, 243Sunny, 243Very Good Eddie, 243Kertész, Imre, Kaddish for an Unborn Child, 163Kettering, Magge, 203Kharms, Daniil, 302Kiler, Kevin, 179, 186The King and I (Rodgers and Hammerstein), 245King Lear (Shakespeare), 19, 23, 30, 47, 61, 62,117, 147, 162, 168, 269, 304King’s Men (Shakespearean troupe), 11, 202Kingsley, Eleanor, 177Kinky Boots (Fierstein), 252Kiss Me Kate (Porter), 245Kitchen Dog Theatre (Dallas), 260Kitt, Tom, Next to Normal, 253Klimt, Gustav, 281Klopatek, Chris, 293Kneehigh Company (UK), 315“A Knight Out” (Gay Games, 1994), 266Knight, Vin, 272Knightley, Keira, 58Koch, Ted, 24Kohler, Adrian, 134Kolyada, Nikolai, 314Kolyada Theatre (Russia), 314Korins, David, 266Kramer, Larry, The Normal Heart, 266, 268Krieger, Sascha, 306, 307Kron, Lisa, 254Kronzer, James, 303Kucharski, Joe, 135Kukucka, Florence, 13Kulick, Brian, 98The Mysteries production, 198Kung Fu (Hwang), 76, 262kunqu (Chinese opera), 207–208, 207Kushner, TonyAngels in America, 22, 35, 74–75, 129,157, 266Brecht’s Mother Courage and Her Childrenadaption by, 76A Bright Room Called Day, 75Caroline, or Change, 75–76, 252, 253early life and career, 75Homebody/Kabul, 75, 263Intelligent Homosexual’s Guide toCapitalism and Socialism witha Key to the Scriptures, 76Slavs! Thinking about the LongstandingProblems of Virtue and Happiness, 75Kuti, Fela Anikulapo, 249, 252Kuzmanic, Ana, 289Kvetch (Berkoff), 30LaBute, NeilThe Distance from Here, 274, 276Fat Pig, 65–66, 288In the Company of Men (film), 78Medea Redux, 80The Mercy Seat, 99photo essay about life and career of, 78–80as playwright and director, 60reasons to be happy, 78reasons to be pretty, 78The Shape of Things to Come, 78Wrecks, 78, 79, 80, 281Lachiusa, John, The Wild Party, 252–253Lady Be Good, Oh, Kay! (Gershwin andGershwin), 243Lady in the Dark (Hart), 245Laguna Playhouse (California), 293Lahr, John, 85Lalonde, Nicole, 181, 183Landau, Tina, 258Lane, Nathan, 14, 26, 216Langhoff, Matthais, 298Lansbury, Angela, 54The Laramie Project: Ten Years Later(Kaufman), 25The Laramie Project (Kaufman), 25Latin American theatreLos Conquistadores (Thenon), 294Contact (Stroman), 294Latina and Latino dramatists, 260, 262, 263,264, 264Latin theatre, 260, 262, 263, 264, 264Latino Teatro (Los Angeles), 264Latino Theatre Alliance (Austin), 264Law, Cardinal Bernard, 272Law, Jude, 18Lawrence, Karen, 293Lay Me Down Easy (Smith), 283LeCompete, ElizabethHamlet with The Wooster Group, 154“The Wooster Group version of Vieux Carré ”direction by, 152LEDs (light-emitting diodes), 107, 111Lee, Bruce, 76, 262Leguizamo, John, 282, 283Lehar, Franz, The Merry Widow, 243Lehrer, Scottearly life and career of, 129photo essay of career of, 129–131rehearsals for Happiness, 131sound design approach taken by, 129–130South Pacific sound design by, 129Leo X, Pope, 107Leon, Kenny, 260, 261Leonard, Robert Sean, 259Leonardo da Vinci, 107, 136Leonce and Lena (Büchner), 144Lepage, Robert, 296Lerner, Alan JayBrigadoon, 245My Fair Lady, 242, 245Leroux, Jean-Pierre, 204, 298A Lesson from Aloes (Fugard), 298Letts, TracyAugust: Osage County, 40, 288, 289, 291roles played by, 11Levy, Drew, 131Lewis, Juliette, 90Liberian Girl (Atuona), 261Library Theatre (England), 236Lieutenant of Inishmore (McDonagh), 273, 297The Life and Death of Marina Abramovi[x107](Wilson), 148The Life And Times of Chang and Eng( Gotanda), 262The Life and Times of Joseph Stalin (Wilson),301A Life in the Theatre (Mamet), 49Life is a Dream (Calderón de la Barca), 260Life X 3 (Reza), 304lighting-board operators, 142lighting design, 104–105, 142Chekhov’s Ivanov, 95contemporary lighting design, 107–108electrical, 90, 107ellipsoidal reflector spotlight (ERS), 111fixed-focus spotlights, 111fresnel spotlight, 111importance and development of the stage,106–107The Insulted and Injured (Neumann), 109LEDs (light-emitting diodes), 107, 111light plot, cue sheet, calling book used in,108, 110lighting designer at work, 108, 110–111Much Ado about Nothing, 106parabolic aluminized reflectors (PARs), 111Private Lives (Coward), 109as scenery material, 97Six Dance Lessons in Six Weeks light plot, 110verisimilitude and atmosphere goals of, 108visibility and focus considerations of, 108lighting designersDon Holder photo essay, 112–115the work of the, 108, 110–111“likeness to life,” realism conceived aslaboratory for examining, 215–216Lincoln, Abraham, 82Lincoln Center Theatre Festival, 144, 196, 279,283, 305Lincoln (Spielberg), 76Lindsay-Abaire, DavidGood People, 172Rabbit Hole, 62, 291Lingzhi, Liu, 212The Lion King (film), 250The Lion King (musical), 2, 94, 115, 133, 242,250, 252Lithgow, John, 135, 288The Little Clay Cart (Sudraka), 206Little Dancer (Stroman production), 248Little Johnny Jones (Cohan), 243The Little Mermaid (musical), 250A Little Night Music (Sondheim), 248–249“The Little Things You Do Together”( Company), 248Liu Yilong, 30live performancedescription of, 16unique characteristics of, 16–17Llana, Jose, 284Lloyd, Paul, 297Lloyd, Phyllida, 154Lockhart, Dugald Bruce, 270Loesser, Frank, Guys and Dolls, 135, 245Loewe, FrederickBrigadoon, 245My Fair Lady, 242, 245Logan, John, 12Lombardi (Simonson), 10Loncaric, Katrina, 149, 151Long Day’s Journey into Night (O’Neill), 220Long Friday, 163Long, William Ivey, 14Look Back in Anger (Osborne), 29López, Josefina, Real Women Have Curves, 260Lopez, RobertAvenue Q, 133, 153, 253, 254, 284The Book of Mormon, 103, 103, 242, 252,254, 254, 288
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You Be the StarCohen and Sherman’
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ContentsChapter 1 What Is Theatre?
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xContentsThe Playwright’s Rewards
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